CHINAR SHADE

"Poet Agnishekhar’s Neel-gatha is a poetic epic in Hindi that spans centuries, with Neel-naaga as the interactive protagonist and witness to Kashmir’s tumultuous history and pathos. From the legendary draining of the Satisara Lake to the present day, this poetic masterpiece covers it all—the rise and fall of empires, cultural shifts, and the resilience of hope. Neel-gatha, a magnum opus, is a must-read and a must-discuss work for anyone passionate about Kashmir’s rich and complex history."

The Reviewer Says This :

“Neel-gatha transcends the specifics of Kashmiri history to address universal themes of exile, resilience, and hope. While deeply rooted in the cultural and spiritual ethos of Kashmir, the poem speaks to displaced peoples everywhere, affirming the capacity of the human spirit to endure, remember, and aspire toward justice. It is not merely a chronicle of suffering, but a testament to cultural survival and moral courage. A central and recurring theme of Neel-gatha is the continuity of suffering caused by conquest, iconoclasm, and forced displacement. The epic confronts painful historical realities without evasion. Understanding Neel-gatha requires immersion in Kashmir’s layered historical and cultural landscape—a terrain shaped by ancient myth, religious pluralism, political upheaval, and repeated cycles of displacement. Avtar Mota’s scholarly introduction performs an indispensable role in guiding the reader through this terrain. Far more than a prefatory note, the introduction operates as an interpretive compass, situating the epic within Kashmir’s history, Indic cosmology, and the tradition of Sanskritic and Hindi epic poetry. With clarity and erudition, Mota outlines the major historical epochs, mythological genealogies, sacred geographies, and philosophical ideas that inform Agnishekhar’s vision. This contextual grounding is crucial, particularly for readers unfamiliar with Kashmir’s civilisational depth, allowing them to engage the poem not as an opaque mythic narrative but as a layered historical and cultural testimony. Complementing the introduction are Mota’s illuminating footnotes, which constitute one of the translation’s most impressive scholarly features. Rather than burdening the text with excessive academic apparatus, the footnotes function as discreet guides, clarifying references, historical figures, religious practices, and geographical markers without interrupting the poem’s lyrical momentum. Drawing upon Sanskritic sources, Kashmiri tradition, and historical scholarship, Mota’s notes transform the translation into a multidimensional text—simultaneously an epic narrative and a work of cultural historiography. Neel-gatha is a work of exceptional literary, historical, and ethical significance. Spanning centuries of myth and memory, it bears witness to cycles of destruction and renewal while affirming the enduring hope for justice, restoration, and peace. Through Neel-naaga’s timeless gaze, the epic preserves the voices of generations, demonstrating that poetry remains one of humanity’s most powerful instruments for remembering, understanding, and enduring."

The Author Says this :

“This translation endeavour was sparked by the enthusiasm of two esteemed scholars, hailing from the US and France, who were captivated by the subject's allure and Kashmir's intricate history, woven around the enigmatic Neel-naaga, a symbol of wise and compassionate consciousness. As I embarked on this journey in the summer of 2025, traversing Paris, New York, and finally Jammu, the project unfolded. This majestic poem, crafted in the Sanskritic tradition of a Mahakavya, unfolds across 8 Parvas, revealing Kashmir's triumphant yet heart-wrenching narrative, from the ancient draining of Satisara Lake to the 1990 tragedy. Consulting around 70 texts, including the erudite works of the renowned Buddhist scholar and polyglot Dr Lokesh Chandra, I hope this translation resonates across borders and cultures.” .

Some Excerpts from the 26-page Introduction of the Translator Say This :

(1)

“While translating the epic poem, Neel-gatha, this translator came across the mention of Bhikshuni Lakshmi by Agnishekhar. Neel-gatha mentions her as a great Tantric master of Vajrayana Buddhism who is held in high esteem in Tibet. The poem informs that she crossed the Himalayas to spread the light of Dharma. Upon my research, I found that Bhikshuni Lakshmi was a Kashmiri princess who became a fully ordained nun. Like many Kashmiri savants and sages, she also crossed the Himalayas to spread the message of Buddhism. Tibetan texts hold her in the highest esteem. In Tibetan texts, she is fondly known as Gelong-Ma -Palmo or Dge Slong-Ma Dpal- Mo. She is credited with establishing the Nyungne tradition, a fasting practice of purification based on Avalokiteshvara. After becoming a successful scholar and abbess, she was afflicted with leprosy and driven out by her community. Through her practice with Avalokiteshvara, she healed herself, attained enlightenment, and passed the practice to others.”

(2)

“Neel-naaga is amazed to see Kripa Singh (Kripa Ram before he embraced Khalsa Panth) and his brother Sanmukh Singh (Sanmukh Ram before he embraced Khalsa Panth) attaining martyrdom in the battle of Chamkaur Sahib, fighting the Mughal forces. Both brothers became part of the group of 40 Muktas who attained martyrdom at Chamkaur Sahib. It is quite pertinent to note that Pandit Kirpa Ram Datt’s ancestors had strong ties to the Sikh Gurus. Pandit Brahm Dass Datt became a follower of Guru Nanak Dev when he visited Mattan. Pandit Narain Dass, son of Pandit Brahm Dass, became a follower of Guru Hargobind when he visited Kashmir. Pandit Aru Ram Dat, the son of Pandit Narain Dass, became a follower of Guru Har Rai. And Pandit Sanmukh Ram Datt and Pandit Kirpa Ram Datt were sons of Pandit Aru Ram Datt of Mattan, Kashmir.”

(3)

“Three prominent Muslims helped Birbal Dhar in his escape from the valley; they were Abdul Qudus Gojwari, Malik Zulfiqar and Malik Kamran. Entrusting his wife and daughter-in-law to his friend Qudus Gojwari and helped by the Malik family (Muslim) to cross the Pir Panjal pass, Birbal Dhar reaches Lahore and impresses Maharaja Ranjit Singh to send the Sikh forces and liberate Kashmir from the cruel rule of the Afghans.”

(4)

“This book is like a Maha-Shraadha performed by poet Agnishekhar for the Sadgati (happy state) and Moksha (liberation) of the wandering souls of many innocents who were mercilessly killed by the terrorists in the valley, as also for those who died due to heat stroke, snake bites, depression, accidents, and innumerable fatal diseases while living in the heat and dust of the alien lands. This epic poem is essentially a powerful petition to the powers that be. A petition that seeks their attention, saying loudly: “Look this way to ameliorate our pain and suffering. We had it enough.”

(5)

“And Panchali is none other than Draupadi. Panchali was the daughter of King Drupad of the hilly Kingdom of Panchal or Panchala. And Panchal or Panchala is what we call the Pir Panjal Mountain range in Jammu and Kashmir. According to historian Srivara, the Pir Panjal Pass was originally known as Panchaladeva, meaning "deity of Panchala”. "Panchala" is a country mentioned in the Mahabharata. During the Mahabharata epic, the area was known as Panchal Desa. I quote from the Mahabharata that mentions Kashmir (Kashmira) and its people:

“ शूराः कश्मीरकाश चैव गांधाराः शकुनिस्तथा।

दरदाः शिबयो योना हूणाश्चैव महाबलाः॥“

Śūrāḥ Kaśmīrakāś caiva Gāndhārāḥ Śakunis tathā |

Daradāḥ Śibayo Yonā Hūṇāś caiva mahābalāḥ ||

Translation: (The brave warriors from Kashmira and Kashi, as well as the Gandhara with Shakuni, the Daradas, Shibis, Yavanas, and the powerful Hūṇas.). Kashmiri soldiers in the Kurukshetra War in Karna Parva, …(Chapter 6, and Verse 75). This verse describes the warriors from various northern regions, including Kashmira, who fought in the Kurukshetra war on the side of the Kauravas.”

Some Footnotes of the Translator to the Parvas Record This:-

(1)

King Gonanda of Kashmir and Sri Krishna

“Rajatarangini, written by Kalhana in the 12th century, states that Gonanda I, the first King of Kashmir, was killed by Balrama, the elder brother of Sri Krishna. According to Kalhana's explanation, Gonanda I was a contemporary of the Mahabharata era and a relative of Jarasandha, the King of Magadha. He was invited by Jarasandha to join a campaign against Sri Krishna and the Yadavas. Leading a large army, Gonanda I laid siege to Mathura. Despite initial successes, his forces were crushed, and Gonanda I was killed in battle by Balrama. This account aligns with the account in the Nilamata Purana, another ancient text from Kashmir, which also mentions that Gonanda I was killed by Balrama during a battle. “

(2)

Nishadas in Kashmir

“The Nishadas are an ancient community mentioned in Indian texts and traditionally associated with fishing, boating, hunting, and river-based livelihoods. The Haanjis (boatmen), who traditionally navigate the waterways of Kashmir, are believed to trace their roots back to the ancient Nishada caste. The Nishadas are mentioned in the Vedas, the Mahabharata, the Manusmriti, and in the historical poetic work Rajtarangini of the Kashmiri historian Kalhana. According to these sources, the Nishadas were a distinct community with a unique identity, maintaining their cultural heritage within the Kashmiri society until the arrival of Islam in the 14^th century.”

(3)

Malechhas, Yavanas and Turushkas

“ In ancient Indian texts, Malechhas are referred to as uncivilised outsiders or those who did not follow the Vedic customs or spoke Sanskrit. It was more cultural than racial, incorporating groups like Huns, Scythians, Greeks, and later, Arabs and Turks. Yavanas was originally used for the Greeks and later expanded to include various Western and Central Asian peoples, especially those who interacted with or invaded Indian territories. The Kashmir valley experienced a period referred to as the Mlechha Era, marked by foreign invasions and cultural disruption. One notable event to put the term Malechha to popular use in Kashmir was the invasion by Dulucha, a Mongol general, whose army devastated Kashmir in the early 14th century. His forces, considered Malechhas, brought chaos and marked almost the end of a long Hindu rule. Later, the term “Malechha” in Kashmir became synonymous with non-Hindu, non-Vedic invaders, often Central Asian or Turkic in origin. While Kashmir was not a primary centre of Indo-Greek rule, the broader northwest Indian region (including Gandhara) saw a significant Yavana presence. Turushka generally refers to people of Turkic origin or tribes or groups from Central Asia who migrated into South Asia at different periods. The term appears in Sanskrit texts, inscriptions, and historical chronicles. They were originally Central Asian and Turkic-speaking peoples. Over time, some became part of invading armies, traders, or settlers in regions like Kashmir, northern India, and the northwest frontiers. They were known for their martial skills and thus employed as mercenaries by various rulers. In Kashmir, for example, references in inscriptions and terracotta tiles indicate the presence and integration in medieval society. In later usage, in some historical sources, the term becomes broader, sometimes used for the Muslim Central Asians in general. Turushkas often left their cultural, artistic, and military imprints on the regions they touched.”

(4)

Lotra-danda and Chanda-danda

"Apart from Jaziya, a special tax imposed on non-Muslims, Lotra-danda and Chanda-danda were also levied upon non-Muslim subjects by the Sultans in Kashmir. These cruel penalties/ taxes find mention in the Sanskrit chronicles of the period, including Rajatarangini of Jonaraja."

(5)

Mata Rupa Bhawani’s Links With Sikh Gurus

"Saint poetess Rupa Bhawani lived during the period when Kashmir faced darkness brought by some Mughal Governors, especially Iftikhar Khan, who was bent upon torturing Hindus and forcibly converting them to his faith. She is believed to have been in touch with some great spiritual masters of the country, including the Sikh Gurus. She was the luminous saint poetess of that dark period when Hindus in Kashmir faced untold atrocities. She is reported to have advised a delegation of Kashmiri Pandits who called on her to go to Guru Tegh Bahadur for redressal of their sufferings………( Source Dr T N Ganju’s book ‘Rahasyaupdesh’ page no 7 )"

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

Saturday, January 31, 2026

KHAND-VAAV AND NAABH-KAAR

These two words were very popular in Kashmir. Both found there usage while dealing with masons and carpenters. May be these were put to use in many other situations, I don't know. But yes, Sri Jai Ram Gupta worked for Punjab National Bank and he spent good time at Amira Kadal branch of the bank . Consequently, he had acquired working knowledge of Kashmiri language. He was from Udhampur and was honest to his core, straightforward, daring and well read . His command over English both; spoken and written was exceptional. A very punctual officer, he would get up for his lunch-break even if some senior executive of the bank was in the premises for some inspection or checking. I found Gupta Ji using both words, Naabh- kaar and Khand-vaav . When a new clerk was provided to him , he would try to put confidence in him and make him learn banking . If he failed. he would say :

" Yi chhu Nabh-kaar ."

(" He is worthless . He plays with his tools." )

If a new recruit was given to his section who was still learning, he would say:

" Yi chhu Khanda-vaav."

(" He is untrained . He lacks skill .")

My father once clarified to me me that Naabh-kaar was a Persian word which meant ," a worthless person not fit for any assignment " .I also learnt that it is a derogatory term used for a person who can't be engaged for any useful work or who will waste your time, money and energy .About Khand-vaav, my friend Sohail Iqbal clarifies as under :

"Khanda.waav refers to apprentices in the shawl weaving industry who were exploited and had a tough life. The term is associated with derogatory phrases highlighting their poor conditions, like 'khanda.waav koaj' meaning a shawl weaver's late breakfast. They worked long hours with minimal breaks, often eating simple food like round-leaved mallow. These individuals toiled for extended periods, with scarce respite, subsisting on humble food, epitomizing their struggles."

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

Based on a work at http:\\autarmota.blogspot.com\.

Tuesday, January 27, 2026

SADDA PIND , AMRITSAR

SADDA PIND , AMRITSAR

Sadda Pind ( our Village) is a new experience in Amritsar. Located on a spacious area of twelve acres near GNDU on the main bye pass , it showcases many aspects of Punjabi life and the spirit of Punjab ; culture, food, Phulkari, games, Dangal, theatre, Bhangra and Giddha, Madaari shows, puppet shows , music, Punjabi jugaad, village barber, Champi Maalish and pottery etc. It is a visit of 3 hours and one can have Mathi- Gurr tea, Lassi, Makki Roti- Sarson Saag, Bajra -Khichdi, Lassi, popcorn and delicious lunch or dinner all inclusive in a ticket of about 850 per adult .

As you enter Sadda Pind, you are greeted by the sights and sounds of a bygone era. It is a living museum, showcasing the authentic way of life of rural Punjab. Traditional mud houses, intricately carved wooden doors, and hand-painted frescoes transport you to a world where simplicity and beauty coexist harmoniously.

One of the highlights of Sadda Pind is the opportunity to witness age-old Punjabi customs and rituals come to life. From folk dances like Bhangra and Giddha to melodious renditions of Punjabi folk songs, every corner of the village resonates with the spirit of Punjab. You can also witness artisans at work, creating intricate Phulkari embroidery, crafting exquisite pottery, and weaving colorful Patiala shawls - a true testament to the craftsmanship of the region.

The lunch ( included in the entry ticket) is luxurious veg/ non veg with Amritsari-kulcha, chicken, butter naan, rice , salad,Paapad, Desi home made pickle , yogurt, Paneer, Vegetables, Chhole , Maash daal in Desi ghee tadka , tea with Gurr, Gulab jamuns. There too many things for children including boating and toy train ride. Monday is a closed day .

Sadda Pind brings together the sights, sounds, and flavors of rural Punjab, allowing visitors to experience the heritage firsthand in a lively, artistic, and welcoming setting. Anytime you are in Amritsar, do visit Sadda Pind for real feel of rural Punjab .

Sadda Pind is managed and run by JMD Heritage Lawns Pvt. Ltd., with Mr. Ish Gambhir identified as the proprietor and managing director. The cultural village, established in 2016, is a private venture aimed at showcasing traditional Punjabi culture. Vandana Gambhir serves as the CEO of this 12-acre themed resort.

( Avtar Mota)

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.